The Effect of Iranian Architecture on Islamic Tourism
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Origins of Agriculture in Western Central Asia: an Environmental
Origins of Agriculture in Western Central Asia Professor V. M. Masson introducing school children from Ashgabat to the excavations at the Neolithic site of Jeitun, Turkmenistan, April 1990. David R. Harris Origins of Agriculture in Western Central Asia An Environmental-Archaeological Study with contributions from: Eleni Asouti, Amy Bogaard, Michael Charles, James Conolly, Jennifer Coolidge, Keith Dobney, Chris Gosden, Jen Heathcote, Deborah Jaques, Mary Larkum, Susan Limbrey, John Meadows, Nathan Schlanger, and Keith Wilkinson University of Pennsylvania Museum of Archaeology and Anthropology Philadelphia © 2010 University of Pennsylvania Museum of Archaeology and Anthropology Philadelphia, PA 19104-6324 Published for the University of Pennsylvania Museum of Archaeology and Anthropology by the University of Pennsylvania Press. All rights reserved. Published 2010. Production of this book was supported by a publication grant from the Academic Committee of the Iran Heritage Foundation (London) and an award from the Stein-Arnold Expedition Fund of the British Academy. The drawing on p. 304 of the head of a wild bezoar goat is from Harris 1962, Fig. 3a. LIBRARY OF CONGRESS CATALOGING -IN-PUBLICATION DATA Harris, David R. Origins of agriculture in western central Asia : an environmental-archaeological study / David R. Harris. p. cm. Includes bibliographical references and index. ISBN-13: 978-1-934536-16-2 (hardcover : alk. paper) ISBN-10: 1-934536-16-4 (hardcover : alk. paper) 1. Agriculture—Turkmenistan—Origin. 2. Agriculture—Asia, Central—Origin. 3. Agriculture, Prehistoric—Turkmenistan. 4. Agriculture, Prehistoric—Asia, Central. 5. Excavations (Archaeology)— Turkmenistan. 6. Excavations (Archaeology)—Asia, Central. 7. Turkmenistan—Antiquities. 8. Asia, Central—Antiquities. I. Title. GN855.T85H37 2010 306.3’4909585--dc22 2010009780 This book was printed in the United States of America on acid-free paper. -
Desert Utopia: the Hidden Unity of Iranian Architecture Conceptualization Behind the Making of a Documentary Film
American International Journal of Humanities and Social Science Vol. 4 No. 2; April 2018 Desert Utopia: The Hidden Unity of Iranian Architecture Conceptualization behind the Making of a Documentary Film Khosrow Bozorgi Professor of Architecture and Urban Design Director, Center for Middle Eastern Architecture and Culture College of Architecture, University of Oklahoma United States of America NARRATIVE Desert Utopia will examine the history of architecture in three desert cities in Iran, exploring unique aspects of the built environment that enabled people to flourish in one of the world’s harshest climates. Although the film will focus on the history of Iranian desert architecture spanning thousands of years, this project is nevertheless timely for today’s American audiences. Due to concerns about global environmental change, sustainable building techniques have emerged as a topic of increasing interest over the past two decades. This interest encompasses themes such as the use of local building materials, creative ways to minimize water use (and water waste), and ways to reduce the amount of energy spent on heating and cooling. Furthermore, the geopolitics of the last two decades also have piqued Americans’ curiosity about the Middle East, especially Iran, but for many people, their knowledge about this part of the world is spotty or even misinformed. Desert Utopia is therefore a film that comes at the right time: It will help satisfy Americans’ curiosity about environmentally sound architecture while filling some of the gaps in their knowledge about Iranian culture and history. However, Desert Utopia is more than simply a film about sustainable architecture in Iranian history. -
Decoding Geometry, Proportions and Its Relationship with Aesthetics in Traditional Iranian Architecture
Original Article Decoding geometry, proportions and its relationship with aesthetics in traditional Iranian architecture Shayan Mahmoudi *, Ali Rezvani, Seyed Alireza Hosseini Vahdat Bachelor degree in Architecture, Shahid Beheshti Technical and Vocational Junior College, Karaj Branch, Department of Art and Architecture, Karaj, Iran. Abstract Certain proportions can be observed in creation and design of nature various forms. These proportions are geometrical relationships that are immaterial in origin and follow the spiritual and supernatural principles of their subject sacredness and have symbolic language and spiritual characteristics. Geometry was inseparable from other four Pythagorean sciences in traditional world, including geometric relationships, arithmetic (number), music and astronomy. We always need geometry knowledge in order to construct a building from first steps to final steps. Using proportions is particularly important because of creating visual aesthetic in visual and architectural arts, and almost all artworks are based on some form of proportion. This research tries to decode the work and find the aim and true purpose of its creator in responding the hypothesis that architect knowledge of geometry and his creative use facilitates the conversion of concept into space and form in designing process and minimizes concept erosion of process through studying architecture, geometry and existing proportions. The results obtained from library and field studies by descriptive-analytical method show that different proportions -
Brick Muqarnas on Rūm Saljuq Buildings
Transkulturelle Perspektiven 3/2014 - 1 - و Richard Piran McClary Brick Muqarnas on R ūūūm Saljuq buildings - The introduction of an Iranian decorative technique into the architecture of Anatolia The aim of this paper is to examine the form, function decorative brick bonds found in the Islamic architec- and decoration of the small and poorly understood ture of Iran. This indicates that it was non-indigenous corpus of brick muqarnas that survive from the early craftsmen, probably from Iran, 4 that were responsible stage of R ūm Saljuq architecture in Anatolia. These for the construction of the few surviving examples of date from the period between the last quarter of the the art of brick decoration in Anatolia. The brief pro- sixth/ twelfth century to the first quarter of the sev- cess of efflorescence that starts in the late sixth/ enth/ thirteenth centuries. The original source of the twelfth century is followed by almost complete abey- muqarnas form has been much debated by scholars, ance after the mid-seventh/ thirteenth century. with opinions as to its origin ranging from North Africa to Baghdad and Eastern Iran. 1 It is clear that The basic building blocks of brick muqarnas composi- muqarnas cells came to be integrated into the archi- tions consist of cells used singly, or in combination tectural aesthetic of Islamic Anatolia from the mid to with one or two others. They have the appearance of late sixth/ twelfth century onwards. 2 By the middle of a rectangular panel with a triangle above that has had the seventh/ thirteenth century almost all but the the tip bent forward 90° giving the cell a triangular western coast and part of the northern coast of plan (fig. -
Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1]. -
Implementation of Sustainable Architecture Patterns in Hot and Dry Regions of Iran by Investigating on Vernacular Sustainable Architecture Patterns
1 Implementation of sustainable architecture patterns in hot and dry regions of Iran by investigating on vernacular sustainable architecture patterns Master Thesis International Master of Science in Construction and Real Estate Management Joint Study Programme of Metropolia UAS and HTW Berlin Submitted on 14.08.2018 Mohammadreza Gharahshir Registration number: 557524 First Supervisor: M.Arch. David Eric Pollock Second Supervisor: Prof. Dr.-Ing. Dieter Bunte 2 ACKNOWLEDGMENT I would like to acknowledge and thank the following people they have supported me, not only during the course of this project, but throughout my Master’s program. Firstly, I would like to express my gratitude to my supervisors M.Arch Eric Pollock and Prof. Dr.-Ing. Dieter Bunte for their support, guidance and insight throughout this research project. And finally, I would like to thank my wife and my family. You have all encouraged and believed in me. You have all helped me to focus on what has been a hugely rewarding and enriching process. 3 4 5 Abstract Today, sustainable development and the saving of non-renewable energies have become one of the most important and common issues internationally. Considering the significant consumption of fossil fuels in the contemporary building industry, the theme of sustainable architecture and utilizing the potential of climate to reduce energy consumption is one of the most important measures in contemporary architecture and urbanization. Iran's traditional architecture, as one of the best examples of sustainable architecture, has shown that in the old days, Iranians have used effective methods for the proper use of non-renewable energies, which differ in terms of climate and weather conditions. -
An Investigation of Historical Structures in Iranian Ancient Architecture
Architecture Research 2011; 1(1): 1-7 DOI: 10.5923/j.arch.20110101.01 An Investigation of Historical Structures in Iranian Ancient Architecture Katayoun Taghizadeh Department of Architecture, University of Tehran, Tehran, 1417466191, Iran Abstract The pre-Islamic styles of Iranian architecture draw on 3-4 thousand years of architectural development from various. Each of the periods of Elamites, Achaemenids, Parthians, and Sassanids were creators of great architecture that over the ages has spread wide and far to other cultures being adopted. Although Iran has suffered its share of destruction, including Alexander the Great's decision to burn Persepolis, there are sufficient remains to form a picture of its classical architecture. This paper featuring a chronological description of structural styles, information on traditional construction materials, as well as an analysis of numerous structures, this interest and informative text will be of importance to anyone with a technical interest in structural history and presents a general overview of the structural and architectural characteris- tics of Iranian historical structures and investigates historical buildings of Iran through a structural engineering approach. This paper includes a chronological description of architectural styles from the beginning to the end of Sassanid’s (before Islam). Keywords Iranian Architecture, Iranian Structures, Dome, Vault, Traditional Structures flowered during the Sassanid period with massive bar- 1. Introduction rel-vaulted chambers, solid masonry domes, and tall col- umns. This influence was to remain for years to come. The pre-Islamic styles of Iranian architecture draw on 3-4 thousand years of architectural development from various. Each of the periods of Elamites, Achaemenids, Parthians, 2. -
Death, Fire and Abandonment
discussion article Marc verhoeven Death, fire and abandonment. Ritual practice at late neolithic Tell Sabi Abyad, Syria Abstract This article offers an interpretation of the structure and meaning of a mortuary ritual at Tell Sabi Abyad in Syria. Remains of this funeral have been uncovered in the 'Burnt Village', a late neolithic settlement largely destroyed by fire. The possibly intentional and ritual burning of the settlement is related to the mortuary rit- ual; it is suggested that here we have evidence for an extended 'death ritual' ending, but also transforming, human and material life. Death, fire and abandonment, then, seem to have been closely related. Some exam- pies suggest that these relations also existed at other neolithic sites in the Near East. Keywords Syria; Tell Sabi Abyad; Neolithic; intentional firing of settlement; death ritual Introduction In this article I shall explore the relationships between death, fire and abandonment in a neolithic settlement in Tell Sabi Abyad in Syria. Tell Sabi Abyad is located in the northern part of the Balikh valley, about 30 km from the Syrian-Turkish border (figure l).The prehistoric occupation at the mound, represented by an uninterrupted sequence of eleven main levels of occupation, can be assigned to the later neolithic period and has been dated at ca 6000-5000 B.C. (6860-5760 cal B.C.).1 Recent archaeological research has focused on one of these neolithic settlements, the so-called Burnt Village of level 6 (dated at ca 5200/5150 B.C., 5970- 5960 cal B.C.). Large parts of this village were reduced to ashes by a violent fire, which has resulted in an extraordinary preservation of architecture and related finds (Akkermans and Verhoeven 1995;Verhoeven 1999;Verhoeven and Kranendonk 1996, 38-63).2 One of the most fascinating discoveries in the Burnt Village consisted of two human skele- tons associated with a number of large oval clay objects. -
Lessons from Old Iranian Climate Architecture for Modern Architects
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by European Online Journal of Natural and Social Sciences (ES) European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.3 Special Issue on Environmental, Agricultural, and Energy Science ISSN 1805-3602 Lessons from Old Iranian Climate Architecture for Modern Architects Ahmad Fathi Najaf Abadi1, Mina Pakdaman Tirani2 1Architecture Department of Sepher Isfahan Institute of Technology 2 Art University of Isfahan E-mail: [email protected] Abstract Iranian traditional Architecture reveals the conception of the past generations from climate and ecological issues and their efforts to improve living conditions. This architecture has always inspired architects in case of environmental factors and control strategies for them to develop their living conditions. Thus, the present paper attempts to recognize the observed climatic and environmental issues in Iran's historical architecture via a descriptiveanalytical approach and to explain the way contemporary architecture communicates with these issues. Finally, some strategies for the optimal use of climate and environmental issues of historical architecture is provided for contemporary architecture. Selecting examples discussed in this paper, we tried to pay attention to the most frequent traditional buildings in the historical contexts; notifying the tips which the majority of these houses have been observed. Keywords: historical/traditional architecture, climate, contemporary architecture, climatic factors, renewable energies Introduction Iran possesses one of the most ancient civilizations and has always been a favorable habitat for humanity throughout history due to its climate variability. Qobadian (2010) explains this diversity in this way: "There is not any rainfall for over half a year in a large part of the central plateau of Iran, while the Caspian sea coast experiences about two meters of annual rainfall and above 80% humidity. -
Agnese Vacca - Luca Peyronel - Valentina Oselini
RECENT RESULTS FROM ARCHAEOLOGICAL RESEARCH AT HELAWA, SOUTHWEST ERBIL PLAIN, IRAQI KURDISTAN AGNESE VACCA - LUCA PEYRONEL - VALENTINA OSELINI Aliawa Aliawa Helawa Helawa https://sketchfab.com/epas https://sketchfab.com/epas https://sketchfab.com/epas 2013 and 2015: Intensive surface collection 2016-2017: Excavation in Areas B and D Systematic and Intensive Surface Collection Excavations 700 600 VII MILLENNIUM BC V MILLENNIUM BC 500 400 300 200 100 0 IV MILLENNIUM BC II MILLENNIUM BC LC 1-2 LC 3 MB II/LB I Peyronel, L. and Vacca, A. 2015, Origini 37: 89-127. Peyronel, L. and Vacca, A. 2015, Origini 37: 89-127. LC 1-2 LC 3 Peyronel, L. and Vacca, A. 2015, Origini 37: 89-127. Ubaid Unknown 13% 21% LU-LC 5% MB-LB 22% LC 1-3 34% Hassuna: 1% CA D Samarra: 1% Halaf: 3% Ubaid: 13% LU-LC: 5% LC 1-3: 34% MB-LB: 22% MB-LB pottery distribution on the surface (%) Area B Area D D1: Phase 2b D3: Phase 2a AREA D 2017 P.86 W.83 L.97 153 157 166 W.89 W.84 Sq. D3 Sq. D1 I.92 2016 L.97 D1: Phase 3 I.91 Sq.D4 W.96 I.93 P.153 L.158 L.152 W.95 L.87 L.99 D3, D4 D3, D4: Phase 2b Phase 2 2016 Grey Ware L a t e K h a b u r 98 Tot: 118 W a 20 r e Area D Helawa PlainW PKW AREA D: Phase 2 (Mitannian I – LB I) Phase 3 (Late MB – LB I) D1: Phase 4b D1: Phase 4c Helawa, Area D Nineveh, Middle and Qalinj Agha, 400 Upper Ninevite 3 Level IV LC2 350 300 250 200 LC3 150 100 50 0 Other Grey Ware Area D – Phases 4.A-B (early LC 3) Filling of P.1: cartridge cases and a pack of Buisness Club cigarettes, produced and traded since 1999 (terminus post quem). -
Psychological and Spiritual Effects of Light and Color from Iranian Traditional Houses on Dwellers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UKM Journal Article Repository Volume 6, Number 2, 288-301, 2011 ISSN: 1823-884x © e-Bangi, FSSK, UKM PSYCHOLOGICAL AND SPIRITUAL EFFECTS OF LIGHT AND COLOR FROM IRANIAN TRADITIONAL HOUSES ON DWELLERS Honey Arjmandi, Mazlan Mohd Tahir, Hoda Shabankareh, Mohamad Mahdi Shabani, Fereshteh Mazaheri ABSTRACT Light and color are the elements that has been playing important role in traditional architecture of Iran. Application of shadow and light with each other has been from the works that gives the mystical sense to the space, especially in religious spaces such as mosques. In view of light, as a major space component, the overall composition, with adjacent servant spaces, find a particular form of organization, which is centralized and where hierarchies define the general pattern. The order of structure, in which light comes as a containing discovering geometry, commands subsidiary openings, which imposes a disciplined regularity of spaces whilst offering greater complex layers of perception. In Iranian architecture, the study of light and color, in accordance with volumes and structure, has always been considered as an essential part of the different stages of the building and its realization. Giving the sensation of unity, this remains at the center of some conceived world‟s spirituality. Unfortunately false imitations from western architecture have given beautiful features but senseless spaces to the contemporary architecture of Iran. the proper teaching and tutoring the Islamic architecture with its principles, especially with suitable light and color applied, not only can describe a suitable feature of architecture, but also defines it in a word that revives the identity of Iranian architecture. Keywords: Iranian Islamic Architecture, Color and Light. -
Central Courtyard in Traditional Mosques of Iran
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 6 No 6 S7 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy December 2015 Central Courtyard in Traditional Mosques of Iran Vida Makani Lecturer, Faculty of Arts and Architecture, University of Mazandaran, Iran Email address: [email protected] Doi:10.5901/mjss.2015.v6n6s7p356 Abstract Although the “central courtyard” or “Sahn”—as an important part of Iranian mosques with its formal, conceptual, and functional richness—provides a unique spatial experience for worshipers, little research has been conducted on its qualitative and quantitative characteristics. The consequence of this lack of sufficient knowledge is that in today’s mosques, either the central courtyard is eliminated altogether or if it exists, it fails to create a favorable spatial quality. The present article aims to acquire a better knowledge of Sahn by studying it from various perspectives so as to determine its effectiveness on architecture and spatial quality. The field and library study methodology was used, and the collected data was obtained by analyzing the architecture of different mosques in Iran and by making comparisons with mosques in other countries. The results indicate that Sahn exert a fundamental influence in a mosque, and that eliminating or reducing its role in contemporary mosques has led to the deterioration of spatial quality. Keywords: Mosque, Sahn, Function, Spatial quality. 1. Introduction The “central courtyard” or “Sahn” has played a significant role in traditional mosques in Iran. From inside the Sahn, the viewer obtains a general understanding of the space and architecture of the mosque. Prophet Mohammad is quoted as saying, “Mosque is wherever you pray.” Therefore, no specific architectural elements or facilities are required to convert a given space into a mosque.